This is probably Medtner's shortest and easiest piece, and possibly one of the most appealing, not being afflicted by Medtner's usual prolixity. Amitai Schlair recorded this for PS some years ago, but it's been a long time favorite of mine, too. IIRC it was some of the first Medtner I heard and played, and that creates a special bond.

Hi Chris,Day off today! Just listened to this. Very well played. I don't know the work, but all the basic elements are well controlled: tempo and variations of same, projected melody, dynamic contrast, clear rhythm. Ophelia is certainly a sad women. Later the work achieves a clear level of anguish (that seems too great for a child). Interestingly, for much of the melody, I couldn't get out of my head that it sounds much like a chant (perhaps from a Russian Orthodox source?). Thanks for the post.

Regards,Eddy

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Last edited by musical-md on Sat Dec 17, 2011 3:53 pm, edited 1 time in total.

Thanks Eddy. Why does the anguish seem too great for a child ? Ophelia was a noblewoman, a young one maybe, but not a child.Now you mention it, yes the melody in the countersubject is very like a chant, maybe a dirge. It's a haunting piece isn't it !?

Had a listen to your performance, I have never heard Medtner before, this piece seems full of lyrical melodies that seem to linger after the cadence. I like how you hold the note, for example at 1:21 and then pedal off for a short time. It's like the end of a chapter in the fairy tale, judging by the title. For criticism I would liked more gradation in the dynamics for example after 3:03, the next section seemed like it should have been softer, but I don't have the score so that is just something I'm guessing at .

Sounded nice

Riley

_________________"I don't know what music is, but I know it when I hear it." - Alan SchuylerRiley Tucker

Very nice playing of Ophelia's Song. You certainly gave it its due in every respect. Sounds great. And yes, this piece is not wrapped in Medtner's prolixity--not a hint of it. (That was one of my criteria too when I chose the Sonata-Elegia--no musical verbosity.) Thanks for posting it.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

Nice playing; perhaps a little more depth of sonority in the first page might have been good - for some reason I found the sound there a little thin. I did wonder about the r.h. grace notes: my preference would be towards elongation rather than quasi-acciaccature; I think it suits the character. (I'm subconsciously a bit influenced by how I believe the l.h. cello-like entry after the introduction of Liszt's Funerailles should be interpreted, whilst Liszt's piece is more heroic, they both have a strong element of dolour). The rit as the music approaches the C min section is very effectively done.

Thanks Andrew. About sonority, I'm not sure how my Gaveau sounds thin. I didn't want to lean into the keys straight away. It would probably sound deeper on a 9ft concert grand... but I don 't have one

It did occur to me when writing my comments that I'd made practically the converse comment about its sound on your last Debussy recording, and thus I'm probably just being impossible! I do however think the sound decays a bit more rapidly than it maybe should.

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